Introduction to my personal investigation
Within this section of website my aim is to take a series of photographs focusing on the seventh threshold concept, “chance”; I want especially to capture people doing interesting or strange things in the street. I am also going to reflect on some of the "big" street photographers, such as Joel Meyerowitz and Lee Friedland; some of my earlier street photos have been my inspired by Meyerowitz in particular, and he has been part of the inspiration driving my ideas and experiments. I'm also planning on using a range of cameras such as film, Polaroid and, of course, digital; what I'm hoping is that in this section I will be able to demonstrate the development of my ideas.
Within this section of website my aim is to take a series of photographs focusing on the seventh threshold concept, “chance”; I want especially to capture people doing interesting or strange things in the street. I am also going to reflect on some of the "big" street photographers, such as Joel Meyerowitz and Lee Friedland; some of my earlier street photos have been my inspired by Meyerowitz in particular, and he has been part of the inspiration driving my ideas and experiments. I'm also planning on using a range of cameras such as film, Polaroid and, of course, digital; what I'm hoping is that in this section I will be able to demonstrate the development of my ideas.
Inspiration-Joel Meyerowitz
Joel Meyerowitz Research
Introduction to Joel Meyerowitz:
Meyerowitz is an award winning photographer who first started doing photography in 1962 and has had over 350 exhibitions in different venues all over the world, although mostly USA; there were three exhibitions in New York between 2010 and 2013, these being the most recent. He has also been exhibited in a variety of other cities, in the Netherlands, France and London. Meyerowitz’s type of photography is street photography, which includes photos of general street scenes, similar to anything that one might experience in a modern city. It is in the tradition of Henri Cartier-Bresson and Robert Frank, although he works mainly in colour, but does include some black and white photography as well, which can be seen on the right; most of his photographs are of New York and other cities in America. It is his work in colour photography that is one of the things which has made him so famous; in the mid 1960s he challenged, and ultimately changed peoples attitude to colour photography. This is best demonstrated in his first book “Cape Light “, which sold 150, 000 copies over its 30 year life. |
Cape Light by Joel Meyerowitz
Meyerowitz’s “Cape Light” photo book has become one of his, and one of photography’s, most famous photo books of the twentieth century. The photos in the book where all taken in Cape Cod. Over thirty-five years later, Aperture has re-published this book in its original form. The book features all the original photos, now deemed to be iconic images of the time. The photos have been re-mastered, and printed as never before. One of the reasons why this book inspired me was not only the brilliant colours , but also the style in which he took them; however, I also think that some of the photos might look better in monochrome, for example the photo with the plackets blowing in the wind. I also think that he has captured the light in this small town in a very dramatic way; each photo has so much colour and variation not only with the colours, but also with the light and textures. The camera he used was a vintage 8 x 10 Dear doff view camera, the photographs reflect on the colour, light and scale of the landscape. Meyerowitz also used this camera in some of his famous street photographs.
Thoughts and suggestions
Yet what I am mainly interested in is people and my idea is to try and take pictures of people in the streets doing something that stands out, but without them looking or noticing me; I also want to capture busy every day scenes from life. Some of the difficulties associated with doing this on the busy streets of London and around Greenwich, is that often people notice if you are up close, photographing them with a camera; therefore I have to try and be very careful, taking the pictures at just the right time to get it so the photographs are good and interesting, but so that the people didn’t notice and ruin what I am trying to photograph. Hopefully if it goes well I will be able to create some great black and white photos. The cameras I will be using are a mix of digital and film cameras; during my photo book project I used film cameras at the start, but went back to digital as the developing and printing was too arduous and took too long. With this project, however, I am going to try and use film, as the effects and the mishaps can create some very interesting black and white , as well as colour, photographs.
"chance" street photography - first response
My method of taking chance photography was to take the photo after I looked through the view finder but then not to look after wards, and wait unit I had downloaded them before looking at them. However, what I dislike about these photographs is that even though I was trying to take it with out looking, some of the photos were out of focus or over exposed. In some photos the appearance was good, and often I used filters which I felt really enhanced the overall effect. It seemed that I was taking photographs of scenes that I really liked, although it seemed that too many photos were put of focus or overexposed. Even though most of the photos came out badly or just not good photos there where a few good ones that I like only because they had a reflection in them or I had framed it right. Leading on from this what I aim todo next is take the photos in a busier area such as central London where there are more people and the tend not to notice you at which will help with what I aim to do.
"chance" street photography - second response
The photos above are inspired by the seventh concept "chance"- what I did was instead of looking through the view finder and framing the shot, I simply took the photos at chest level and at different angles; it was total chance how the photos came out. I took the photos of people doing strange or different things. Some times if I saw some one doing something different, like bending down , I took a photo when the person wasn't looking at me, or pretended I was looking into the distance, photographing something else. These photos compare well to some of my others in the way that I've simply taken each photo on chance, by walking around and taking a photo of what ever stands out . Often I would quickly change what I was shooting to try and capture something different or unusual. What I think is worth noting about these photos is that each one I took at chest level, with out looking at the subject, and trying to get it to be in focus; one of my favourite photos is the one where the back ground is a window, with a great reflection and in the foreground a women is taking a cigarette out of a cigarette box; as I took the photo the women moved which made her out of focus but I think the contrast of the woman’s image being blurred but the background being completely in focus, creates a photo that over all is really good and interesting. I like the contrasts of the sharp window and the reflection. Despite not using the viewfinder, it would appear that many of the photos came out sharply in focus, with good contrasts and subject matters. An alternative approach might be to take a similar method, but using a film camera. I would also like to experiment with taking more photos with just one single person as the subject, sitting, moving or just standing.
Third response: In this third response I am aiming to take images of people doing things out of the ordinary, but involving more than just one or two people.
With the images above my method was to take photos of just a single person, or a couple of people, perhaps sitting or standing alone; I would often take these photos from a distance, while the subject was doing something specific i.e a person stopping in a crowd of people or a group of people all using their phones, apart from one. An example of this is in the bottom row, where there are people running to get on the train; I stopped and took the photos first in monochrome then after I noticed the bright lights and the contrast of the vivid colours I then changed the setting on the camera from monochrome to vivid plus, which made all the lights become more saturated; the effect was much better than in monochrome on this occasion. The way these images compare to other sets of photos I have taken is that the photos were taken in an area where there were far fewer people, and overall the scenes are less busy. However, the scenes still capture street scenes, but contrast well as there is a sense of loneliness and space. It is worth noting that across a city the size of London many different types of street photographs can be taken, with a range of effects being captured. Instead of just taking pictures of people I took pictures of buildings and certain items that stood out. I have thought that on another occasion I could try some different experiments, such as sitting in one place with a long lens and taking pictures of people from a distance; it would be interesting to document the series of people passing through, but with the background remaining the same. One of my ideas for another experiment might be use a different type of camera, such as a Polaroid or a film camera, to get a different look. However, there is the possibility that the photos won’t come out as with the polaroid it can be very unreliable.
Polaroid camera/mini photo book exploration/ the aim with this experiment is to using a different type of camera
Above are a set of pictures that I took with a polaroid camera; what I set out to do was move around my local area, and just take random photos of various buildings, objects and scenes I came across. However, the photos were fundamentally different to the ones that I had previously taken, as the view finder on a Polaroid camera was set slightly away from the lens, so what I was actually going to capture in the finished photo was even more “by chance”. The effects were immediate. Of note is that the photographs did not include people, they were just of inanimate subjects. I was experimenting with the view, the subjects, but also the intensity of the light; additionally, with the polaroid camera there is a fixed flash, therefore the ability to control the intensity of light was limited, and the effects even more unpredictable; real chance. Using a different kind of camera allowed me to learn about over exposing and the use of light in a different context. Although sometimes the photos might have appeared overexposed, I also liked the fact that it changed the feeling and emotions; the brightness is right for capturing a really hot day in the city. Textures also appear different, changing the quality of the image.
Further experiments with "chance" street photography
The photos above show further results from my experimentation; originally I planned to take photos whilst travelling on the train, but what ended up happening was that although I took many photos whilst travelling, it appeared that the people I captured often had different expressions on their faces, which enhanced the quality of the images and experience. There is a little girl against a pillar looking bored; an older woman staring into the distance; a younger woman asleep; boredom, anger and stress. There is a variety of different emotions captured, on a normal Saturday expedition. Critics might suggest that I take more care to set up the photos and frame the subjects more carefully; however, chance is about capturing what is there in the immediate, and should not, in my opinion, be staged. I am happy with this collection of photos as it includes the feelings of the subjects, which is different to the “action” photos that I had previously taken. It is now something that I will try and focus on when I continue to take chance photographs. what I dislike about some of the photos above is that the time when I was taking the photos I may have rushed my self resulting in some of the photos that could have been really good and interesting but because I rushed my self the framing wasn't right.
Inside or outside? Photos can mean different things at different times with different people
My chosen images
When it comes to this photo and whether it is an “inside” or an “outside” photo, it feels very much that it is “outside”. As it was taken as part of the “chance” project the woman in the photo had no idea that she was being photographed as she went about a normal day; she was moving, and it feels like she is moving. She is photographed against a window, which adds a context and place. The reflection also adds to the overall sense of looking on at what she is doing. What might have been interesting do do is try and simulate this by going back to central London and stand next to a a similar place and wait for people to stop so I could photographer them in the same style.
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The photo on the right is an "inside" photo in the way that when I took the photo the man had simply come up to me and asked me to take the photo; so I took the photo and he walked away. However, the fact that he is looking directly at the camera suggests that he is asking the photographer through his eyes into his thoughts. One of the big things I think about this photo is that it involves a lot of "chance" in the way that the man happened to come up to me wanting a photo. His face suggests a history. I like the subject matter although I dislike the technological side of the photo-it appears too bright and overexposed. Remember, though, that this was Cuba, where the intensity of the light is much greater than in London, and this is captured on the photo.
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First photography expedition - Tate Modern gallery: subject - street photography
The photos in this gallery where taken in the 1960s/70s in Tokyo, by a photographer called Yutaka Takahashi. which was displayed in this particular exhibition; specifically it was about a district in Tokyo called Shinjuku. It included photos from Shinjuku, plus other photos of Tokyo in general. The photos show the changes that took place in Tokyo between 1968 and 1970, which is what the photographer was going for. Street photography, as well as capturing people doing strange things, is also an excellent way of documenting changes that occur in areas over periods of time.
The main reason why I went to the gallery was to explore photographs from a different culture-Japan and also examine how a famous photographer had captured the changes in a city over a period of time; they show a time and place that has now disappeared. Overall, my opinion of these photos is that it does what it sets out to do- Tokyo from the 1960s was before my eyes. |
Second gallery visit -The Photographers Gallery, Soho
In October I went to the photographers gallery in Soho and again it was more street photography, but in a slightly different way. It brought together a group of different photographers whose pictures explore black men as performers, - in particular through the adoption of a "dandy-esque" style. although this particular photos aren't really related I found this very informative and inspirational.
My opinion of the photos in the gallery was that it seemed that most of them were examples of street photography, but most of them seemed staged; it appeared obvious that the photographer asked them to pose and asked them to wear the colourful pieces of clothing that they did; therefore the photos were perhaps more "inside" representations, rather than the street explorations that I particularly enjoy. It seemed that there was little "chance " to these images. However, from a critical viewpoint, many were well configured, with good use of contrast, and interesting subject matter. what I dislike about these images is that obviously the have all been posed and the model has been shown an asked to pose in that particular way, What I would have done would be to make it more off a chance thing with them sitting or standing and either me or someone else talking to them as I take the photos. |
35mm film images- street photography; double exposure across London and Malta
With the images above I used a film camera to double expose the film- I did this by taking my first set of images using the film camera as usual, but when I was rolling the film back I stopped just before the end, opened the back of the camera and just put the film back in and wound it on again, as if I was putting a new role of film. The effects are variable, although nearly every image is intriguing and captivating in someway or another. Some show figures appearing in impossible places, or lights appearing on a street, where it could not happen. Often the eye is led in a particular direction, but then drawn back to another area of the picture to something that does not make sense. Some have a ghostly feel. In some there is a sense of the heat of Malta, but a chimney pot that belongs in London. Some of the photos are not as satisfying as the exposure is wrong; always fascinating though, even then. The effects are unpredictable, which is one of the aspects of double exposure that I particularly like. I have learnt that a lot of care needs to be taken when rolling back the film, as even a tiny amount of light can ruin the effects. Next time I think I will double expose, but sit in one place, and move just a little; I will try and have more control in the future.
second set of film images
The images above are from an SLR camera with 35mm film; I positioned myself in Covent Garden in the piazza , and took photos of people going about their everyday business, doing random, normal things. I then sat in a coffee shop and just took pictures of people walking past, and people walking past the shops opposite; the photos at the bottom are these.
I am interested to know what other people may think of these images; there is a mix of different types of street photography which I believe make it interesting; perhaps I should have concentrated on one thing i.e just chance photos of people doing random or interesting things, or maybe just people doing the same thing. What I think is effective about these photos is the contrast and the slight over exposure in some of the photos. I think sometimes overexposure improves and makes for more interesting photos. Some of the other photos at the bottom, taken whilst I was sitting in a cafe, are under exposed, creating a dark look, making it hard to see what the subject of the photos is; again I think that this can make the images more interesting; however, editing is needed to make them look clearer.
Using film can be more challenging than using digital; however, this is the method that was used by some of the photographers I admire, such as Meyerowitz and Friedlander. There is obviously a stark comparison to the digital photos I have taken, although digital cannot be used to surprise and experiment the way that the double-exposed films can; those images look very different.
I am interested to know what other people may think of these images; there is a mix of different types of street photography which I believe make it interesting; perhaps I should have concentrated on one thing i.e just chance photos of people doing random or interesting things, or maybe just people doing the same thing. What I think is effective about these photos is the contrast and the slight over exposure in some of the photos. I think sometimes overexposure improves and makes for more interesting photos. Some of the other photos at the bottom, taken whilst I was sitting in a cafe, are under exposed, creating a dark look, making it hard to see what the subject of the photos is; again I think that this can make the images more interesting; however, editing is needed to make them look clearer.
Using film can be more challenging than using digital; however, this is the method that was used by some of the photographers I admire, such as Meyerowitz and Friedlander. There is obviously a stark comparison to the digital photos I have taken, although digital cannot be used to surprise and experiment the way that the double-exposed films can; those images look very different.
Yutaka Takanashi-compare and contrast
I have chosen to contrast and compare one of my monochrome images with one of Takanashi's; obviously there are vast differences-Tokyo in 1970s versus London in 2016. However, there are also many similarities. It is not possible to tell which city each photo was taken in, apart from thinking that the people on the train are probably Japanese. Both photos have a sense of perspective, with the eye being drawn from the bottom left of the photo to the top right; shadows are important in both photos. In both photos there is stark contrast of black and white, although the image on the left is softer, dreamier, which ties in with the ladies, all of whom appear to be sleeping. There is action in the right photo, and the lady has a sense of purpose, unlike the subjects on the left. Another difference is that my image the person is walking with a purpose where Takanashi's the people are both asleep.
Inspiration revisited- Yutaka Takanashi- Street Photographer in Japan and Co-Founder of Provoke Magazine
Along side Takuma Nakahira and Daido Moriyama, Takanashi was a Japanese street photographer who always photographed in the city from close up or from far away, sometimes very far away, even from a moving car. He photographed street scenes; as well as looking out for interesting street scenes, he was also on the look out for an image, "charged with poetry", combined with reality. Takanashi was the co-founder of the Provoke Magazine series (1968-70). This movement rejected the conventions of photojournalism, to pursue a more impressionistic and subjective photographic style.
Takanashi used a range of different techniques, but a favourite one of them was a 6×7 camera that he used to take photos at night, as well as a mix of film cameras that he used through out his photography career.
I really like his work, and I feel that it is very closely related to my personal investigation of "chance" street photography, in the way that many of the photos he took of street scenes had a strong presence of the random effect of chance. I like the aspect of them, in the way that he appeared to wander around parts of Tokyo, taking pictures of people doing various activities, he would by chance bump into scenarios, and capture with his camera. Another thing I like about his photos is that the subject matter and techniques vary; when he was involved in the Provoke series in 1968 one of the magazines was all about street photography, but all the photographs where purposely out of focus or blurred; this was an approach that was being used elsewhere at the time, and had a big influence on photography at the time. Some critics might suggest that this ruins the photographs, but my view is that it is this particular "chance" approach that makes this series of photos especially interesting.
Takanashi used a range of different techniques, but a favourite one of them was a 6×7 camera that he used to take photos at night, as well as a mix of film cameras that he used through out his photography career.
I really like his work, and I feel that it is very closely related to my personal investigation of "chance" street photography, in the way that many of the photos he took of street scenes had a strong presence of the random effect of chance. I like the aspect of them, in the way that he appeared to wander around parts of Tokyo, taking pictures of people doing various activities, he would by chance bump into scenarios, and capture with his camera. Another thing I like about his photos is that the subject matter and techniques vary; when he was involved in the Provoke series in 1968 one of the magazines was all about street photography, but all the photographs where purposely out of focus or blurred; this was an approach that was being used elsewhere at the time, and had a big influence on photography at the time. Some critics might suggest that this ruins the photographs, but my view is that it is this particular "chance" approach that makes this series of photos especially interesting.
First Final Outcome: Double exposure in zine form
ALL IMAGES USED IN ZINE
When thinking about the first final outcome, I am, on balance, very pleased with these final photographs; in my view there is an improvement on the previous set of double exposed shots, the images are crisper, have more depth, and generally more professional. With the last set I did, most of the photos came out normal and not double exposed; however, with these photos above they came out improved, with the lines and the overall appearance very interesting; overlapped along with the graininess and contrast of the photographs. Another thing I like about these photos is that you can expressions on the peoples faces and they differ with each person. What I dislike about these photos is that not all of them have come out i.e the first photos at the top have had light leak on to them, which has ruined them. The reason why the first five photos haven't come out is because whilst I was out and about I obviously had to rewind the film so I could double expose it and the light got in and ruined the first few photographs; I have learnt to take more care.
Zine-final piece
With the film double exposed photos I ended up producing a zine; I created this online using a website called "news paper club", which creates these effectively and produces news papers to what ever design you desire. I did made this into more of a zine than a newspaper, and was pleased with the final outcome. What a like about this first final outcome is the size of it, in that you can see the images in a large format, as well as giving the overall effect of looking at something old. What I dislike about this photo book, though, is the thinness of the paper; the quality appears very thin, and I think that it could be easily broken or destroyed. What I would do differently next time, if I did it, would be to use a digital camera instead of a film camera, to give it a crisper look, along with using a different online zine creator. What other people might think of this is that maybe I should have edited the images more, so they would stand out against the white background of the paper. Additionally, other people may say that instead of making it out of such a weak material that next time I should try and choose better quality, or else get it made into a photo book instead of a zine.
Third film experiment: the aim is to use enlarged double prints of the double exposed negatives
In this experiment I simply first printed one image on to some photographic paper, then using a different image from the negatives I printed again, on the same piece of paper. Some of the difficulties that I had while printing these images was that the second image that I would print onto the paper would be out of focus, and this often affected the overall outcome of the image once developed. Another difficulty that I had was each set of negatives needed a different exposure time, which meant the second negative that I printed would dominate over the first one which would make the overall photo out of focus.
Next time I would use two enlargers, with negatives in each enlarger and focus them perfectly, then first project the first negative onto the photographic paper then move to the other enlarger and repeat it, then develop the paper. What I like about the photos above is how they have come out differently; however, the one I think works best is the first one that I actually printed, which is the third row down at the end. This photo has a lot of contrast and no grey areas, but the chemicals I used had been used a few times before and were not fresh, which meant some silver deposits where left on this print and this which affected the over all outcome.
Next time I would use two enlargers, with negatives in each enlarger and focus them perfectly, then first project the first negative onto the photographic paper then move to the other enlarger and repeat it, then develop the paper. What I like about the photos above is how they have come out differently; however, the one I think works best is the first one that I actually printed, which is the third row down at the end. This photo has a lot of contrast and no grey areas, but the chemicals I used had been used a few times before and were not fresh, which meant some silver deposits where left on this print and this which affected the over all outcome.
Reflections, obstructions and further exploration and experimentation
Originally I was planning on taking chance photos of people in reflections i.e. shop windows or on the tube or any window. However, what ended up happening was I simply took photos of people while I was on the move; hence I only had a small opportunity to shoot reflections, hoping the photos were going to come out in focus. As you can see, the result was a mixture of images; most of them are monochromatic images of people, usually either a single person or a small group of people i.e the group of people where the fountains are. However, there are others which are coloured, which seemed too good to miss; the photo of the group of photographers was something that I came across by "chance", and a perfect opportunity; what they were photographing can not be seem, creating a sense of intrigue and mystery. As I shot, obstruction became more of a feature, although reflections still featured.
The presentation of photos above shows groups or individual people, but they are all doing different things; to me, the photos are effective in delivering against the concept of "chance". The monochrome nature of the photos creates the atmosphere of a winter day; however, the inclusion of a particularly colourful image, again stumbled on by chance, increases the contrast, and is a particularly good example of the use of reflection. This photo, too, could have been taken in black and white, but the colours were too vivid to ignore.
What I think is particularly effective about these photographs above is that each picture includes people, but each person is doing something different; there are some people who are just standing, and doing nothing in particular. I have tried to interpret the subject matter differently, by thinking about the distance involved, where the subject might be in the composition, taking photos from a different or unpredicted angle; however, I have generally tried to ensure that the people being photoed did not know that it was happening, or did not know why they were being photographed. What I think I would do differently next time would be to maybe concentrate on reflections.
The presentation of photos above shows groups or individual people, but they are all doing different things; to me, the photos are effective in delivering against the concept of "chance". The monochrome nature of the photos creates the atmosphere of a winter day; however, the inclusion of a particularly colourful image, again stumbled on by chance, increases the contrast, and is a particularly good example of the use of reflection. This photo, too, could have been taken in black and white, but the colours were too vivid to ignore.
What I think is particularly effective about these photographs above is that each picture includes people, but each person is doing something different; there are some people who are just standing, and doing nothing in particular. I have tried to interpret the subject matter differently, by thinking about the distance involved, where the subject might be in the composition, taking photos from a different or unpredicted angle; however, I have generally tried to ensure that the people being photoed did not know that it was happening, or did not know why they were being photographed. What I think I would do differently next time would be to maybe concentrate on reflections.
Obstruction
As the title suggests, obstruction is the reason why I have grouped these 14 photos together, chosen from the main set; they all feature "obstruction" in some form or another. When choosing subjects and thinking how to capture a scene or a person, introducing an obstruction enhances the concept of "chance", and gives a viewer another vantage through which to observe and consider. Sometimes the obstruction is an object, sometimes it is another person, sometimes it is rain, mist or a fountain. Often these photos have come about purely through chance, although on other occasions "chance" has been helped by something happening that is more predictable such as waiting for a fountain to spray mist. Sometimes the obstructions are multi-layered- for example a man obscures a menu, but the menu obscures a woman. It is challenging to think about how obstruction can be featured; by obstructing the key part of an image, such as a face, a whole new perspective on a particular person can be taken. The photo of the menu captures what is essential to the whole thing-people eating, and food being chosen. Scenes and situations can be photographed in many different ways when using obstruction as a device; by choosing what is obscured, and choosing what does the obscuring, changes the whole emotional tone of the photo.
A future project will be setting such shoots up, carefully choosing what, where and how subjects will be obscured.
A future project will be setting such shoots up, carefully choosing what, where and how subjects will be obscured.
Borough Market Photos: subject for the Final Outcome
With the images above my aim was to take photos with the subject matter being street photography, through the seventh concept of chance, but more specifically using obstruction techniques, as explored through my previous selection of photos. Comparing these two sets of images, I would say that these photos in comparison to the previous set of photos is that these new ones have a different sense to them in the way that these ones I specially went out and took photos to do with obstruction in comparison with the other set of photos above which where much more random in the way that my subject matter wasn't obstruction but simply chance street photography. What I hugely dislike about some of these photographs above is that even though I was standing still in one place some of the photos have a blurred look to them along with some other photographs that would have been really interesting if they had been in focus but the camera had focused on the wrong thing. What I like about the images above is the expressions on some of the peoples faces and how they vary so much between each person I photographed. What I think is effective about the images is the expressions on some of the peoples faces and how that affects the mood of each photograph, another thing I think is effective about the photos above is the obstruction part and how some of the photographs show the subject of the photograph either completely in view or mostly obstructed by either another person or an object in the way. The way I would interpret these photos differently would be maybe to not have any obstruction of the people I am trying to capture.
last experiment - double exposure photos
Leading on from the previous photos I decided to use some of the double exposed prints I had previously taken, and simply enlarge, using a printer. After I had created A3 size images I selected the colour I wanted. I put the A3 prints back into the printer and selected the colour, then printed again; however, I printed over the first print to it gave the overall image an intriguing, artistic effect, very different to anything else I had previously produced. I then repeated this 3 times, each time with a different colour so the colours would overlap, and build upon each other, creating an overall fascinating, and unusual effect. My thoughts about this is that although I like the effect the colours give, the images themselves become lost, and the subject matter cannot be seen. However, although the image is lost, for people looking at the pictures, although confusing, they may also present as engaging and perplexing. If I was to repeat the project, I would perhaps use fewer colours, so that more of the underlying image could be seen, and therefore present as less confusing. Despite the possible confusion, I think that overall the effect is dramatic, and shows how photography is truly an art form, not just a way of documenting what happens in life. Additionally, these images are different, especially in contrast to the rest of my work, which is largely monochromatic; to introduce such colour is thought-provoking. The images are overlapping, and takes the idea of double exposure to a different level.
Second Final out come- photo book
For my final outcome for my personal investigation I decided to use a mix of some of my photographs from over the whole entire investigation phase, to create a photo book that would show all that I have been working on, and indicate what my final conclusion shows. I believe that the images above effectively show a range of people, doing different things, often interesting; they have been captured in different ways. I have explored using different cameras, films and techniques; the effects have been different. How I would compare this photo book to my other final out come (zine) would be that this shows all of what I have done, it shows how my photographic style has developed over the last few months, along with my skills of photography. What I dislike about this would have to be that I should have allowed in my subject matter more freedom, or maybe use colour a bit more than just once or twice; I could have included more colour, and contrasted it with monochrome. In conclusion I think that this is a very good representation of what my personal investigation is all about, and shows that I have reached my goals, with exploring "chance", developing different skills, and viewing street photography differently.
Personal Investigation essay
LONDON THROUGH NEW EYES
What could be more interesting than London? It throngs with people day and night, and is a hub for art, culture, world affairs and much else. As a photographer, my principal interest is street photography. I live in London, which is one of the busiest, liveliest cosmopolitan cities in the world; this has given me the opportunity to capture many different aspects of city life. Additionally, although I have travelled to central London to capture scenes of interest, there have also been opportunities more locally in Greenwich where I live; it does provide some contrast to central London, but there are also similarities. Through this project I have looked at London differently- I now look at the people and the places differently, hoping to capture an image that will become the next masterpiece-“chance” allows that to happen.
INSPIRATION
Originally I was inspired by one particular photographer ; Joel Meyerowitz has worked around New York, a similar environment to my own of London. Although he was an early advocate of colour photography, he has also produced stunning monochrome images of New York, everyday street scenes. However, I also looked at the work of Lisette Model, a photographer from New York again in the 1940s; I was particularly impressed by the images involving reflections in glass windows; it seemed to show multiple layers of life in New York. It also seemed that the people in her photos became more anonymous as their faces could not be seen, but there were more figures, almost ghostly. Lee Friedlander was another photographer who was influential in the development of my ideas, again around his use of reflections. He worked in the USA , again using reflections, but often using mirrors, not just windows. This is something that I also tried to explore. Shadows are another important element of his work, which is also something that I have experimented with. More recently I have discovered David Bailey and some of his scenes of North London; his photographs captured an area of social importance in the 1970s, which has now changed and disappeared.
AIM
I have previously explored other forms of photography such as portraiture and staged street scenes; however, I decided I wanted to concentrate on random views of busy streets, people going about their everyday business, without knowing that they would be set into a photograph forever; I decided that exploring London street life would be the focus of my personal investigation. I hoped to just photograph whatever caught my eye. I did not want my images to be too composed and manipulated, I wanted to photograph would ever I saw, especially if it involves people. Whist working on my project I took journeys, and photographed what I saw en route. I particularly liked going to central London, where I would come across many different things; street dance; a demonstration; Christmas shopping. I started to take photographs and reflections, liking the overall effect, but not worrying about composing things too much. Sometimes I would spot something unusual, standing out in “in a sea of normal”. I would take the shot and hope that it had been captured. In London the opportunities were great. I like photographing in natural light, therefore I have experimented mainly during the day; bright sunlight is great to create vivid sharp images. Light can be a very important part of my photography, as because I like all my images to be in monochrome, light becomes more important in terms of producing textures and contrast.
METHODS
I started by using a digital camera, which allows a great deal of experimentation, and gives instant results; it is easy to review images and rapidly adapt style, speed and exposure to capture a shot that attracts me. As a result of the instant outcome with digital, it is easy to move on and take another shot immediately, inspired by the previous shot and just changed a little; results are quick. Digital photography allows a photographer to develop a “digital sketchbook”- it is easy to quickly capture changes in an environment and adapt the shot; this allows an immediate response to the effects.
In addition, I have photographed using an SLR camera and 35mm film; with this, there is not the immediacy, although it is possible to learn from films that have been previously developed. I have used both digital and 35mm film SLR cameras, along with looking at photographers photo books for inspiration; I have also used Polaroid instant images which can give me an instant result, but also stylised look; I have also used a camera phone; these are very useful for capturing unexpected instant scenes. The reason why I often use a digital camera is that it gives an instant photo that can be analysed immediately, and work can progress very quickly; this suits the concept of “chance”, which is what suits me and my personality. However, one of my favourite types of photography would have to be film; I like the grainy effect that can be achieved; I like the contrast of the black and white; I like the fact that sometimes the images are not as crisp as they might be with a digital shot; film has the benefit that it can surprise in the way digital, with its immediate response, cannot.
I have explored taking pictures of people in reflections, in shop windows, car mirrors and even puddles; it is difficult to capture exactly the right moment and to be at the right angle so that me, the photographer, isn't in it; there have been trials and errors along the way. I have tried to capture the same effect as Friedlander, using mirrors, which can be brilliant, as the subjects don’t realise that they are being photographed; therefore the photos are often more natural. There is no posing, and the effect is very natural, the effect I wanted to seize. Timing was crucial, to get it so the photograph itself was well structured and interesting, also to take so that the people in the photo did not realise what was happening. However, there was always the risk that the subject would change, or walk away. When it goes well, I have a photograph that is well structured, and includes people at their most relaxed and natural. The cameras I have been using include a mix of digital and film cameras; during my initial photo book project I used film cameras at the start but I found it tended to take too long and was too complicated. More recently my personal investigation has moved on to shooting people engaged in more interesting things in the street; I have seen performers dancing and a busker playing to the public on the Underground. The cameras that I have used have changed since the beginning of the personal investigation; I move between polaroid, digital and experiment with film because of the effects that it gives.
STARTING OUT
My first set of photographs to do with chance were taken using a digital camera with a random filter that had be left on the setting when I turned on the camera; at school I went around the local area, just shooting photographs by chance of objects, but mostly people - at the bus stop, around some of the nearby shops, as well as other students just sitting on benches talking. Throughout, however, the main thing I was concentrating on in this first experiment was to explore the “seventh threshold concept of chance”; I simply pointed the camera, without looking through the viewfinder or setting up the scene, at whoever or whatever I was photographing, therefore adding chance to what I was capturing .
CONTINUING
Leading on from the previous experiment I decided to go up to central London and this time take the photographs in black and white, rather than colour, as well as using the viewfinder on this occasion. Although I originally went up to London to go to the photographers gallery, on the way I went through Chinatown and Soho, photographing unusual scenes, i.e. a street performer in a sea of people walking, or a man bending down in a crowd of people, everyone else rushing around him. Another thing I have noticed in this set of photos is that a few shots that show just a single person , whereas in others there may be too many people. Following on from this I went up to the Barbican to see an exhibition, and on the way there and and on the way back, leading on from the last set of photographs I photographed just single people on their own, with no one else in frame. What I was trying to do with this photo shoot was to try and do things differently to how I had previously gone about things; there were not very many people around, so the photos look emptier, bleaker and more deserted. Next I added a twist; instead of using a digital camera I used a polaroid camera and moved around my local area, immediately seeing how the photos came out using the polaroid; there were no people in the photos, as I was just simply experimenting. I mounted the photos into a paper book, creating a mini photo book, adding a sense of professionalism. The reason why I decided to switch to a polaroid camera was two-fold; not only was it suddenly given to me out of the blue, but also it was an opportunity to experiment with a yet another type of camera; the immediacy of this seemed perfect for “chance” photography, as it gave instantaneous effects. I could see the photo developing before my eyes. I just used it to look at streets in general, around London. I returned to photographing busy streets in London, but trying to be more relaxed in my approach, just concentrating on people, perhaps just standing and talking, but perhaps doing other things a bit more unusual. I wanted to return to capturing images with more people, as I preferred the effects to some of the emptier shots I had taken. I did photograph a few isolated people that I saw along the way, who I thought would make a good photograph. Whilst experimenting with the photographs I have been taking, I have also visited a couple of galleries, looking at some photographers work, related to my project. I went to the Tate and looked at some Japanese photos taken by a photographer called Yutaka Takahashi, in which he took street style photos of Tokyo in the 1970s in some of the poor districts that existed at that time. What I saw at the gallery seemed very similar to my personal investigation - a mix of interesting photos of people doing out of the ordinary things, linking to my personal project of Chance photography.
More recently I have been experimenting with double exposure; after shooting a film, I rewind and then re-expose and a further set of photos is taken. When developed it creates images, which if done well, gives the you of two photos overlapped. This creates intriguing photos with more than one layer, and different scenes are superimposed on another. My aim was when I took these photographs was to capture a variety of scenes, such as people just walking or single people standing perhaps doing something unusual; sometimes I photographed building works, superimposed on something completely different. After double exposing the whole film twice, I got it developed. The end result was fascinating, as the way that the photos came out the whole double exposure gave the images a very interesting effect over all.
I have researched Yukaka Takahashi, who has done considerable amounts of street photography, shooting people in Tokyo in the 1970s; much of this is “chance” photography , which I found satisfying. He has also, however, taken more staged shots of Tokyo streets. I was inspired to do a further double exposure film photo shoot. On this occasion I first I went up to London, and took some chance street photography. Immediately afterwards I went on holiday to Malta, so the second exposures ere of Maltese streets, which were superimposed on London scenes. The overall effects of this were mixed; there were some intriguing photos which worked very well, and appeared interesting and creative. There were some good effects with contrasts of light, and also differing textures. However, some photos were difficult to make out. I then produced my first “final outcome”; I took the film images from my last experiment and got it made into a zine; this was an effective way of showing my double exposure photos. It also is a more professional way of publishing images, and as I had previously produced a photo book, I wanted to do something different. Overall I was very pleased with this first final outcome, as it represented all I had done so far.
Leading on from using the negatives from my film images I moved on to experimenting in the dark room. I selected a few of my double exposed negatives, but then put two negatives overlapping each other, so that it would become a double double exposure. The reason why I decided to do this was that I obviously knew that I had double exposed the film whilst I was taking the photos, but I thought that if I overlapped the negatives in the dark room, it could create quite a thought-provoking image when I printed it; this it did. The results I got from the printed overlapped negatives were very good and although I thought that some did not develop that well, most came out in a satisfactory way. There were some interesting textures, and also some of the superimposed images were complex and fascinating.
The next stage in my project was to return to London, and continue to focus on chance shots in the street; however I chose to focus on using reflection, but also thinking about other obstructions that might impinge on my photographs; I wanted to add another bit of a twist. Whenever I was near any windows or reflective surfaces, I simply waited around that area took a few photos and then moved on. Another thing I did in terms of obstruction was that I would stand in a crowded place and choose either a group or a single person to photograph, and then let people and other objects slightly impact on the alignment, so that they were half blocking my view of the subject.
What I found with incorporating these two different things into my normal chance street photography is that it added some complexity to the images I was capturing; sometimes the subject was partly obscured, or sometimes the focus would be different to what was expected. I believe that this brought a new perspective to my work.
On a further occasion I visited Borough Market, this time taking a long lens with me. I positioned myself, and then took photos of people buying and selling food, but from a greater distance than I had done previously. This enabled me to truly capture people and situations without the subjects being aware of what I was doing; they were more anonymous, and more natural than they had been previously. I found that by doing this I was able to capture more emotions on people's faces than I had done previously. However, I found that the drawback to photographing from a distance was that often it is difficult to focus to the degree that I really wanted, and therefore the images were not as crisp as I had previously obtained.
CONCLUSION
In conclusion using the photos I have taken recently, along with photos I have taken throughout my investigation, using an online website I created a photo book, which became my final outcome. What I included in this photo book were a range of photos that demonstrated my ability to capture chance street photography. In the photographs subjects have a range of emotions as well as showing them doing different things. What particularly pleased me about this final outcome is that the photos are absorbing, good and work together in a visually pleasing way. I have now spent many months focusing on various aspects of London street life; originally I was inspired by famous photographers, such as Meyerowitz and Friedlander, but I have also discovered other artists along the way who have also captured city life, but in different ways. My own exploration has taken me through a range of different cameras. I have also found that as well as capturing people in scenes, it is also possible to focus in on the emotions that people show on a day-to-day basis. Chance photography is accessible, and everywhere you go there are people doing normal everyday things, but also exceptional things, showing a wide range of different expressions. I have realised how hard it is to create a masterpiece; but have also realised how much day-to-day life is to be captured.
What could be more interesting than London? It throngs with people day and night, and is a hub for art, culture, world affairs and much else. As a photographer, my principal interest is street photography. I live in London, which is one of the busiest, liveliest cosmopolitan cities in the world; this has given me the opportunity to capture many different aspects of city life. Additionally, although I have travelled to central London to capture scenes of interest, there have also been opportunities more locally in Greenwich where I live; it does provide some contrast to central London, but there are also similarities. Through this project I have looked at London differently- I now look at the people and the places differently, hoping to capture an image that will become the next masterpiece-“chance” allows that to happen.
INSPIRATION
Originally I was inspired by one particular photographer ; Joel Meyerowitz has worked around New York, a similar environment to my own of London. Although he was an early advocate of colour photography, he has also produced stunning monochrome images of New York, everyday street scenes. However, I also looked at the work of Lisette Model, a photographer from New York again in the 1940s; I was particularly impressed by the images involving reflections in glass windows; it seemed to show multiple layers of life in New York. It also seemed that the people in her photos became more anonymous as their faces could not be seen, but there were more figures, almost ghostly. Lee Friedlander was another photographer who was influential in the development of my ideas, again around his use of reflections. He worked in the USA , again using reflections, but often using mirrors, not just windows. This is something that I also tried to explore. Shadows are another important element of his work, which is also something that I have experimented with. More recently I have discovered David Bailey and some of his scenes of North London; his photographs captured an area of social importance in the 1970s, which has now changed and disappeared.
AIM
I have previously explored other forms of photography such as portraiture and staged street scenes; however, I decided I wanted to concentrate on random views of busy streets, people going about their everyday business, without knowing that they would be set into a photograph forever; I decided that exploring London street life would be the focus of my personal investigation. I hoped to just photograph whatever caught my eye. I did not want my images to be too composed and manipulated, I wanted to photograph would ever I saw, especially if it involves people. Whist working on my project I took journeys, and photographed what I saw en route. I particularly liked going to central London, where I would come across many different things; street dance; a demonstration; Christmas shopping. I started to take photographs and reflections, liking the overall effect, but not worrying about composing things too much. Sometimes I would spot something unusual, standing out in “in a sea of normal”. I would take the shot and hope that it had been captured. In London the opportunities were great. I like photographing in natural light, therefore I have experimented mainly during the day; bright sunlight is great to create vivid sharp images. Light can be a very important part of my photography, as because I like all my images to be in monochrome, light becomes more important in terms of producing textures and contrast.
METHODS
I started by using a digital camera, which allows a great deal of experimentation, and gives instant results; it is easy to review images and rapidly adapt style, speed and exposure to capture a shot that attracts me. As a result of the instant outcome with digital, it is easy to move on and take another shot immediately, inspired by the previous shot and just changed a little; results are quick. Digital photography allows a photographer to develop a “digital sketchbook”- it is easy to quickly capture changes in an environment and adapt the shot; this allows an immediate response to the effects.
In addition, I have photographed using an SLR camera and 35mm film; with this, there is not the immediacy, although it is possible to learn from films that have been previously developed. I have used both digital and 35mm film SLR cameras, along with looking at photographers photo books for inspiration; I have also used Polaroid instant images which can give me an instant result, but also stylised look; I have also used a camera phone; these are very useful for capturing unexpected instant scenes. The reason why I often use a digital camera is that it gives an instant photo that can be analysed immediately, and work can progress very quickly; this suits the concept of “chance”, which is what suits me and my personality. However, one of my favourite types of photography would have to be film; I like the grainy effect that can be achieved; I like the contrast of the black and white; I like the fact that sometimes the images are not as crisp as they might be with a digital shot; film has the benefit that it can surprise in the way digital, with its immediate response, cannot.
I have explored taking pictures of people in reflections, in shop windows, car mirrors and even puddles; it is difficult to capture exactly the right moment and to be at the right angle so that me, the photographer, isn't in it; there have been trials and errors along the way. I have tried to capture the same effect as Friedlander, using mirrors, which can be brilliant, as the subjects don’t realise that they are being photographed; therefore the photos are often more natural. There is no posing, and the effect is very natural, the effect I wanted to seize. Timing was crucial, to get it so the photograph itself was well structured and interesting, also to take so that the people in the photo did not realise what was happening. However, there was always the risk that the subject would change, or walk away. When it goes well, I have a photograph that is well structured, and includes people at their most relaxed and natural. The cameras I have been using include a mix of digital and film cameras; during my initial photo book project I used film cameras at the start but I found it tended to take too long and was too complicated. More recently my personal investigation has moved on to shooting people engaged in more interesting things in the street; I have seen performers dancing and a busker playing to the public on the Underground. The cameras that I have used have changed since the beginning of the personal investigation; I move between polaroid, digital and experiment with film because of the effects that it gives.
STARTING OUT
My first set of photographs to do with chance were taken using a digital camera with a random filter that had be left on the setting when I turned on the camera; at school I went around the local area, just shooting photographs by chance of objects, but mostly people - at the bus stop, around some of the nearby shops, as well as other students just sitting on benches talking. Throughout, however, the main thing I was concentrating on in this first experiment was to explore the “seventh threshold concept of chance”; I simply pointed the camera, without looking through the viewfinder or setting up the scene, at whoever or whatever I was photographing, therefore adding chance to what I was capturing .
CONTINUING
Leading on from the previous experiment I decided to go up to central London and this time take the photographs in black and white, rather than colour, as well as using the viewfinder on this occasion. Although I originally went up to London to go to the photographers gallery, on the way I went through Chinatown and Soho, photographing unusual scenes, i.e. a street performer in a sea of people walking, or a man bending down in a crowd of people, everyone else rushing around him. Another thing I have noticed in this set of photos is that a few shots that show just a single person , whereas in others there may be too many people. Following on from this I went up to the Barbican to see an exhibition, and on the way there and and on the way back, leading on from the last set of photographs I photographed just single people on their own, with no one else in frame. What I was trying to do with this photo shoot was to try and do things differently to how I had previously gone about things; there were not very many people around, so the photos look emptier, bleaker and more deserted. Next I added a twist; instead of using a digital camera I used a polaroid camera and moved around my local area, immediately seeing how the photos came out using the polaroid; there were no people in the photos, as I was just simply experimenting. I mounted the photos into a paper book, creating a mini photo book, adding a sense of professionalism. The reason why I decided to switch to a polaroid camera was two-fold; not only was it suddenly given to me out of the blue, but also it was an opportunity to experiment with a yet another type of camera; the immediacy of this seemed perfect for “chance” photography, as it gave instantaneous effects. I could see the photo developing before my eyes. I just used it to look at streets in general, around London. I returned to photographing busy streets in London, but trying to be more relaxed in my approach, just concentrating on people, perhaps just standing and talking, but perhaps doing other things a bit more unusual. I wanted to return to capturing images with more people, as I preferred the effects to some of the emptier shots I had taken. I did photograph a few isolated people that I saw along the way, who I thought would make a good photograph. Whilst experimenting with the photographs I have been taking, I have also visited a couple of galleries, looking at some photographers work, related to my project. I went to the Tate and looked at some Japanese photos taken by a photographer called Yutaka Takahashi, in which he took street style photos of Tokyo in the 1970s in some of the poor districts that existed at that time. What I saw at the gallery seemed very similar to my personal investigation - a mix of interesting photos of people doing out of the ordinary things, linking to my personal project of Chance photography.
More recently I have been experimenting with double exposure; after shooting a film, I rewind and then re-expose and a further set of photos is taken. When developed it creates images, which if done well, gives the you of two photos overlapped. This creates intriguing photos with more than one layer, and different scenes are superimposed on another. My aim was when I took these photographs was to capture a variety of scenes, such as people just walking or single people standing perhaps doing something unusual; sometimes I photographed building works, superimposed on something completely different. After double exposing the whole film twice, I got it developed. The end result was fascinating, as the way that the photos came out the whole double exposure gave the images a very interesting effect over all.
I have researched Yukaka Takahashi, who has done considerable amounts of street photography, shooting people in Tokyo in the 1970s; much of this is “chance” photography , which I found satisfying. He has also, however, taken more staged shots of Tokyo streets. I was inspired to do a further double exposure film photo shoot. On this occasion I first I went up to London, and took some chance street photography. Immediately afterwards I went on holiday to Malta, so the second exposures ere of Maltese streets, which were superimposed on London scenes. The overall effects of this were mixed; there were some intriguing photos which worked very well, and appeared interesting and creative. There were some good effects with contrasts of light, and also differing textures. However, some photos were difficult to make out. I then produced my first “final outcome”; I took the film images from my last experiment and got it made into a zine; this was an effective way of showing my double exposure photos. It also is a more professional way of publishing images, and as I had previously produced a photo book, I wanted to do something different. Overall I was very pleased with this first final outcome, as it represented all I had done so far.
Leading on from using the negatives from my film images I moved on to experimenting in the dark room. I selected a few of my double exposed negatives, but then put two negatives overlapping each other, so that it would become a double double exposure. The reason why I decided to do this was that I obviously knew that I had double exposed the film whilst I was taking the photos, but I thought that if I overlapped the negatives in the dark room, it could create quite a thought-provoking image when I printed it; this it did. The results I got from the printed overlapped negatives were very good and although I thought that some did not develop that well, most came out in a satisfactory way. There were some interesting textures, and also some of the superimposed images were complex and fascinating.
The next stage in my project was to return to London, and continue to focus on chance shots in the street; however I chose to focus on using reflection, but also thinking about other obstructions that might impinge on my photographs; I wanted to add another bit of a twist. Whenever I was near any windows or reflective surfaces, I simply waited around that area took a few photos and then moved on. Another thing I did in terms of obstruction was that I would stand in a crowded place and choose either a group or a single person to photograph, and then let people and other objects slightly impact on the alignment, so that they were half blocking my view of the subject.
What I found with incorporating these two different things into my normal chance street photography is that it added some complexity to the images I was capturing; sometimes the subject was partly obscured, or sometimes the focus would be different to what was expected. I believe that this brought a new perspective to my work.
On a further occasion I visited Borough Market, this time taking a long lens with me. I positioned myself, and then took photos of people buying and selling food, but from a greater distance than I had done previously. This enabled me to truly capture people and situations without the subjects being aware of what I was doing; they were more anonymous, and more natural than they had been previously. I found that by doing this I was able to capture more emotions on people's faces than I had done previously. However, I found that the drawback to photographing from a distance was that often it is difficult to focus to the degree that I really wanted, and therefore the images were not as crisp as I had previously obtained.
CONCLUSION
In conclusion using the photos I have taken recently, along with photos I have taken throughout my investigation, using an online website I created a photo book, which became my final outcome. What I included in this photo book were a range of photos that demonstrated my ability to capture chance street photography. In the photographs subjects have a range of emotions as well as showing them doing different things. What particularly pleased me about this final outcome is that the photos are absorbing, good and work together in a visually pleasing way. I have now spent many months focusing on various aspects of London street life; originally I was inspired by famous photographers, such as Meyerowitz and Friedlander, but I have also discovered other artists along the way who have also captured city life, but in different ways. My own exploration has taken me through a range of different cameras. I have also found that as well as capturing people in scenes, it is also possible to focus in on the emotions that people show on a day-to-day basis. Chance photography is accessible, and everywhere you go there are people doing normal everyday things, but also exceptional things, showing a wide range of different expressions. I have realised how hard it is to create a masterpiece; but have also realised how much day-to-day life is to be captured.
Sources
http://www.photopedagogy.com/threshold-concept-6.html
http://www.joelmeyerowitz.com/
https://priskapasquer.com/yutaka-takanashi-towards-the-city-including-a-short-history-of-the-provoke-era-part-12/
http://www.achtung.photography/yutaka-takanashi-koji-taki-takuma-nakahira-provoke-1-provocative-materials-for-thought-1968/
http://www.getty.edu/art/collection/artists/1521/lisette-model-american-born-austria-1901-1983/
https://en.wikipedia.org/wiki/Lisette_Model
https://fraenkelgallery.com/artists/lee-friedlander
https://juanjosereyes.wordpress.com/2012/09/13/lee-friedlander-reflexions-of-the-street/
http://www.biography.com/people/david-bailey-38755
http://www.photopedagogy.com/threshold-concept-6.html
http://www.joelmeyerowitz.com/
https://priskapasquer.com/yutaka-takanashi-towards-the-city-including-a-short-history-of-the-provoke-era-part-12/
http://www.achtung.photography/yutaka-takanashi-koji-taki-takuma-nakahira-provoke-1-provocative-materials-for-thought-1968/
http://www.getty.edu/art/collection/artists/1521/lisette-model-american-born-austria-1901-1983/
https://en.wikipedia.org/wiki/Lisette_Model
https://fraenkelgallery.com/artists/lee-friedlander
https://juanjosereyes.wordpress.com/2012/09/13/lee-friedlander-reflexions-of-the-street/
http://www.biography.com/people/david-bailey-38755